Нью-Йорктегі Hearst мұнарасы

Office skyscraper in Manhattan, New York

The Hearst Tower is a building at the southwest corner of 57th Street and Eighth Avenue, near Columbus Circle, in the Midtown Manhattan neighborhood of New York City, United States. It is the world headquarters of media conglomerate Hearst Communications, housing many of its publications and communications companies. The Hearst Tower consists of two sections, with a total height of 597 feet (182 m) and 46 stories. The six lowest stories form the Hearst Magazine Building (also known as the International Magazine Building), designed by Joseph Urban and George B. Post & Sons, which was completed in 1928. Above it is the Hearst Tower addition, which was completed in 2006 and designed by Norman Foster. The building's main entrance is on Eighth Avenue. The original structure is clad with stone, and contains six pylons with sculptural groups. The tower proper has a glass and metal facade arranged as a diagrid, or diagonal grid, which doubles as its structural system. The original office space in the Hearst Magazine Building was replaced with an atrium during the Hearst Tower's construction. The tower is certified as a green building as part of the Leadership in Energy and Environmental Design (LEED) program. Hearst Magazine Building developer William Randolph Hearst acquired the site for a theater in the mid 1920s, in the belief that the area would become the city's next large entertainment district, but changed his plans to construct a magazine headquarters there. The original building was developed as the base for a larger tower, which was postponed because of the Great Depression. A subsequent expansion proposal, during the 1940s, also failed. The New York City Landmarks Preservation Commission designated the facade of the original building as a city landmark in 1988. Hearst Communications, after considering expanding the structure again during the 1980s, developed its tower in the first decade of the 21st century.

The tower is on the border of the Hell's Kitchen and Midtown Manhattan neighborhoods of New York City, two blocks south of Columbus Circle. It is bounded by 56th Street on the south, Eighth Avenue on the east, and 57th Street on the north. The building faces Central Park Place on the north, 3 Columbus Circle on the northeast, and Random House Tower on the east. It is one block south of Time Warner Center and 2 Columbus Circle. The base of the Hearst Tower has three street addresses: 951–969 Eighth Avenue, 301–313 West 56th Street, and 302–312 West 57th Street. The site is a nearly square lot covering and measuring Entrances to the New York City Subway's 59th Street–Columbus Circle station, served by the , are in the base of the tower. The Hearst Tower is near an artistic hub which developed around a two block section of West 57th Street between Sixth Avenue and Broadway during the late 19th and early 20th centuries, after the opening of Carnegie Hall on Seventh Avenue in 1891. The area contained several headquarters of organizations such as the American Fine Arts Society, the Lotos Club, and the ASCE Society House.

The original six story structure, known as the Hearst Magazine Building or the International Magazine Building, Completed in 1928 and intended as the base of a future tower, the Hearst Magazine Building was designed in early Art Deco style. The Hearst Magazine Building is the only survivor of an unbuilt entertainment complex which its developer, Hearst Communications founder William Randolph Hearst, envisioned for Columbus Circle in the early 20th century. The tower, designed by Norman Foster, was completed in 2006—almost eight decades after the base was built. The Hearst Corporation and Tishman Speyer developed the tower; WSP Global was the structural engineer, and Turner Construction was the main contractor. The two sections combined 597 feet (182 m) are tall, with forty six stories above ground. Its base occupies nearly the whole lot and originally contained floors, arranged in a "U" shape, flanking a courtyard on the west. Along much of the base, the third through sixth stories are slightly set back from the lowest two floors. The upper stories are more deeply set back from the lowest six floors on the north, east, and south sides Each of the upper stories has a footprint of , with the longer dimension extending from east to west. The setbacks above the sixth floor contain a skylight 40 feet (12 m) wide. The Hearst Tower has of office space. Without the zoning amendment, the Hearst Corporation might have had to pay up to $10 million for additional air rights, as the company had already used up all the air rights above the Hearst Magazine Building. With the construction of the Hearst Tower, the base's facade was retrofitted to meet updated city seismic codes. Because the original office space was replaced with an atrium in the Hearst Tower's construction,

The main entrance, at the center of the Eighth Avenue elevation, contains a large archway flanked by a pair of smaller, rectangular doorways. The archway has gray granite panels at its base and voussoirs and a beveled keystone at its top, overlapping with a balcony. The barrel vaulted vestibule inside the archway contains embossed octagonal coffers. The far western end of the vestibule has an entrance with a bronze frame and four glass doors beneath a bronze and glass transom. There is a subway entrance on the right (north) side of the Eighth Avenue entrance vestibule. On either side of the entrance arch, the Eighth Avenue elevation contains glass and metal storefronts at ground level and seven sash windows on the second story. On 57th Street, a former secondary entrance was altered to create a storefront topped by a window. There is another subway entrance on the left of the original doorway. The remainder of the ground story facades at 57th and 56th Streets also contain glass and metal storefronts, with loading docks on the far western section of the 56th Street facade. The centers of the Eighth Avenue and 57th Street facades are identical, with two pylons each. The left pylon on both entrances contains sculpture groups depicting comedy and tragedy, and the right pylon contains sculptures representing music and art. Between the pairs of pylons on Eighth Avenue and on 57th Street, on each of the third through sixth stories, is a tripartite window with fluted stone spandrels. The Eighth Avenue and 57th Street elevations contain seven bays, on either side of the vertical bay, which are set back above the second story. The third through fifth stories of these elevations have sash windows, slightly recessed behind the main facade, and the sixth story windows are flush with the cast stone facade. The setback and window arrangement are carried around to the eight eastern bays on 56th Street. which were designed to emphasize the upper, never built stories. The tower facade has a triangular framing pattern known as a diagrid (short for "diagonal grid") above the tenth floor, which is the tower's structural support system. The diagrid divides the tower's sides horizontally into four story segments and diagonally into alternating upright and inverted triangles, which intersect at "nodes" along points of the facade. There are no vertical columns within the tower's footprint. The New York Times wrote that the beams and "birds' mouths" run at a 75 degree angle to the horizontal floor slabs; another author cites the beams as running at a 65 degree angle. The structural system, similar to the Commerzbank Tower in Frankfurt

The triangles making up the diagrid are prefabricated panels manufactured by the Cives Steel Company at two plants, in New York and Virginia. Each of the triangles is 52 feet (16 m) tall. The exterior curtain wall was constructed by Permasteelisa, which mounted 3,200 glass panels on the facade. The panels are typically 13.5 feet (4 m) tall by 5 feet (2 m) wide, It incorporates "a rectangular steel box the size of a Smart car" on the roof, which hoists a 40 feet (12 m) mast and a hydraulic boom arm. Sixty seven sensors and switches are housed in the box. A window cleaning deck hangs from the hydraulic boom arm, supported by six wire rope strands. The rig, installed in April 2005 on 420 feet (128 m) of elevated steel track circling the tower's roof,

The Hearst Magazine Building is supported by steel columns on its perimeter. Joseph Urban's original plans for the tower no longer exist but, by some accounts, it would have been up to 20 stories tall. efn|Because of zoning regulations in place at the time of the Hearst Magazine Building's completion, the additional stories would likely have been much smaller than the base. A white brick penthouse was completed above the sixth story for future expansion of the elevators. The Hearst Magazine Building's original framework was removed when the Hearst Tower was built in the 2000s. Eight 90 feet (27 m) "super diagonals" slope from the third to the tenth floors. To compensate for the offset service core and lack of interior columns, the tower's weight is supported by the exterior diagrid (which is braced by the service core).

The Hearst Magazine Building initially contained office space with 11 feet (3 m) ceilings, The waterfall is complemented by Riverlines, a 70 feet (21 m) fresco by Richard Long. The atrium has two mezzanines; one contains a 380 seat cafeteria, and the other houses an exhibition area. The tower begins with the tenth story, which is 110 feet (34 m) high and slightly above the roof of the atrium. The limestone clad floor slabs of the atrium and office floors contain polyethylene tubes for heated (or cooled) water to regulate temperature and humidity. A tank in the basement collects rainwater from the building's roof, some of which is pumped through the lobby's waterfall. The furniture and lights were designed to be energy efficient. Two executive stories have daylight dimming systems, which dim when there is sunlight; the other office stories have daylight switching systems, which turn off when there is sunlight. From 1895 to the mid 1920s, Hearst bought several large plots around the circle for his headquarters. efn|Hearst's first purchase was the city block bounded by 58th Street, Eighth Avenue, and Broadway, now the site of 2 Columbus Circle, in 1895. Eight years after that, Hearst bought a plot on the northern side of Columbus Circle. In 1921, Hearst completed his acquisition of lots on the northern side of 58th Street west of Eighth Avenue. The plot facing 61st Street was the only one to be even partially developed.

By early 1924, Hearst had obtained an option to acquire a 200 by 200 foot site along Eighth Avenue from 56th to 57th Street, near the 57th Street artistic hub. That April, he acquired the property title for the site. Hearst gradually acquired large areas of land around the intersection of Eighth Avenue and 57th Street, though none of the other sites were developed. Metropolitan Opera director Otto Hermann Kahn had begun planning a new opera house to replace an existing building at 39th Street and Broadway at the same time, spending $3 million in late 1925 to acquire the site west of Hearst's lot. Plans for the 57th Street opera house were made public in January 1926, but the Met abandoned the plans two years later. In conjunction with the canceled opera house, Hearst originally planned to construct a two story office and retail building with a 2,500 seat theater designed by Michael Bernstein. This was subsequently changed to a six story office and theater building, designed by Thomas W. Lamb. The 11th Avenue site was abandoned by August 1926 and Hearst had replaced Lamb, hiring Urban to design a magazine headquarters for the Eighth Avenue site. The proposed magazine headquarters was a skyscraper and Hearst hired George B. Post & Sons, who had experience building skyscrapers. The section of Eighth Avenue between 42nd and 59th Streets was experiencing rapid development, with surrounding real estate values increasing 200 percent since the beginning of the 1920s. This was, in part, due to the development of the Independent Subway System's Eighth Avenue Line and zoning regulations which permitted skyscrapers along that section of Eighth Avenue. By January 1928, the Hearst Magazine Building was nearly completed, costing $2 million (equivalent to $ million in ).

Urban and Post drew up plans for a street level 1,000 seat concert hall shortly after the Hearst Magazine Building was finished, with a 600 seat secondary auditorium in the basement and a planned 1929 completion date. The Hearst Corporation acquired the land under the building in 1930 for $2.25 million or $2.5 million. With the onset of the Great Depression shortly after the Hearst Magazine Building's completion, planning for its upper stories stalled for over a decade. The New York Evening Journal (one of Hearst's newspapers) as part of a reorganization of Hearst Corporation properties. By that point, Hearst owed $126 million (equivalent to $ billion in ) and was selling his holdings. In 1945, George B. Post & Sons prepared plans for nine additional stories. The plans were filed with the New York City Department of Buildings the following year, when the tower was estimated to cost $1.3 million. The additional stories were never completed; a New York City Landmarks Preservation Commission (LPC) report about the building did not specify a reason for this. The Hearst Magazine Building retained most of its original architecture throughout the 20th century, though the ground level storefronts were replaced in 1970. A restoration of the building had then been recently completed. During much of that decade, the Hearst Corporation rapidly acquired media companies such as magazines, publishers, and television stations. In 1982, the LPC began considering city landmark designation for the Hearst Magazine Building. Further discussions of landmark status took place in 1987, and the LPC granted landmark status to the building's facade the following year. The designation meant that the LPC had to approve any proposed changes to the Hearst Magazine Building exterior. Beyer Blinder Belle proposed a 34 story green glass tower during the late 1980s, a plan which did not come to fruition.

The Hearst Magazine Building was too small to house all the Hearst Corporation divisions, although it was the company's headquarters. By the beginning of the 21st century, the building contained the Good Housekeeping offices, corporate offices, and Hearst's media division; the corporation's other magazines were published in several nearby buildings. In 2000, the Hearst Corporation announced plans to consolidate all its divisions by completing its long delayed tower. Planning for the tower had been fueled in part by the development of other media headquarters nearby, Foster's selection, which followed his failed bid to design the New York Times Building, led one architect to say: "My guess is Hearst wanted to outdo the Times." Following the attacks, Foster and Hearst decided to restrict visitor access to part of the atrium and relocate the tower's core away from the street. Foster's team designed over one hundred plans for the tower. He filed plans for the construction of the Hearst Tower that October, and the approval took a relatively short three hours. Before the start of construction, Good Housekeeping moved to another Hearst Corporation building and two thousand employees were relocated. and the Hearst Magazine Building's interior was demolished in the middle of that year. and the landmark facade was preserved and cleaned for $6 million. but it was not officially completed until that October. The Hearst Tower cost a total of $500 million. Shortly after completion, it was the first New York City building to receive a LEED Gold certification for its overall design. efn|7 World Trade Center, the city's first building with any LEED Gold certification, was completed in May 2006. However, 7 World Trade Center's certification only applied to its exterior, while the Hearst Tower's certification applies to both its exterior and interior. Although the upper floors were quickly occupied, the ground floor retail space remained vacant for several years; any retail lease had to be approved by several Hearst Corporation officials, and the space's asking price was per month. The space was not occupied until 2011, when cookware retailer Sur La Table opened a store. Panera Bread leased a ground level storefront in 2022, intending to open a flagship store.

Before the tower's construction, the Hearst Magazine Building was considered an indication of unexecuted plans. One observer, writing to the LPC in 1982, said that the structure was designed "an unusual style, by an unusual [and unusually talented] designer". Architectural writer Eric Nash wrote in 1999 that the Hearst Magazine Building, before the tower's completion, was "a tantalizing vision of what might have been". William Randolph Hearst left little indication of what he thought the Hearst Magazine Building represented, calling it "an account of conspicuous architectural character" in a 1927 telegram. Nicolai Ouroussoff of The New York Times wrote, "Past and present don't fit seamlessly together here; they collide with ferocious energy", calling the Hearst Tower's design "deeply comforting". In The New Yorker, architectural writer Paul Goldberger called the Hearst Tower the "most beautiful skyscraper to go up in New York" since 140 Broadway was completed in 1967. Muschamp of the Times said that the new building resembled a "glass square peg in a solid square hole". The American Institute of Architects' 2007 "List of America's Favorite Architecture" ranked the Hearst Tower among the top 150 buildings in the United States. The tower received a British Construction Industry Award in 2007, and was a runner up for the Royal Institute of British Architects' Lubetkin Prize. Since 2018, Hearst Television stations have used on screen graphics based on the diagrid of the tower's facade.